Customers LOVE Our Food!

 performed during
Time Capsule 2021, Osisun, Seoul


single channel video, 00:07:44

In Regression, I explore the realm of โ€˜user dataโ€™, accelerated by pattern recognition and generation technology(also marketed as artificial intelligence)within the increasingly automated world. I aim to critique the state of exploitation of user data by information technology corporates. The current information society is depicted as a metaphorical structure with rusted pipes and opaque clouds. An agent with artificial intelligent persuades people to hand over their data so that it can suggest the best life path for the users in return.

sound by Brian James Griffith

shown in
Time Capsule 2021, Osisun, Seoul

ILOVEYOU2: That Time I Imploded the Future, CICA Museum, Gimpo, 2021. 06. 23 - 2021. 06. 27

Another Cinema, Sangheeut, Seoul, 2021. 07. 30 - 08. 15

Diving Into The Wreck

in collaboration with Rosanna Gamson, Paige Oโ€™Mara, Brian Evenson, and Anna Libbie Grossman

This is an ongoing game project.

Conceived and directed by Rosanna Gamson and designed by Herry Kim and Paige Oโ€™Mara, Diving Into the Wreck is a multi-level narrative puzzle game about memory and forgetting. Navigating a virtual space that shifts from the everyday to the fantastic as the player moves forward, DIW was originally inspired by the different kinds of memory loss, hallucinations, and confusion of dreaming and waking that Gamsonโ€™s parents experienced in their late 80โ€™s and early 90โ€™s. The player is asked to do a short thought experiment that includes writing and dancing, and to upload their results. The game can be further customized with additional uploads and responses to DIWโ€™s prompts. The artifacts and imaginings of the player directly affect the progress, visual details, and imagery of the game. DIW provides a space for self-discovery and contemplation as the player navigates the different worlds they encounter.

์ด๊ฒƒ์€ ์ง„ํ–‰ ์ค‘์ธ ๊ฒŒ์ž„ ํ”„๋กœ์ ํŠธ์ด๋‹ค.

๋กœ์ž”๋‚˜ ๊ฐ์Šจ์ด ๊ตฌ์ƒํ•˜๊ณ  ๊ฐ๋…ํ•˜๋ฉฐ, ๊น€ํ˜œ๋ฆฌ์™€ ํŽ˜์ด์ง€ ์˜ค๋งˆ๋ผ๊ฐ€ ๋””์ž์ธํ•œ ๋‹ค์ด๋น™ ์ธ ํˆฌ ๋” ๋ ‰์€ ๊ธฐ์–ต๊ณผ ๋ง๊ฐ์— ๊ด€ํ•œ ๋ฉ€ํ‹ฐ ๋ ˆ๋ฒจ ๋„ค๋Ÿฌํ‹ฐ๋ธŒ ํผ์ฆ ๊ฒŒ์ž„์ด๋‹ค. ํ”Œ๋ ˆ์ด์–ด๊ฐ€ ์•ž์œผ๋กœ ๋‚˜์•„๊ฐ€๋ฉด์„œ ์ผ์ƒ์  ๊ณต๊ฐ„์—์„œ ํ™˜์ƒ์ ์ธ ๊ณต๊ฐ„์œผ๋กœ ๋ฐ”๋€Œ๋Š” ๊ฐ€์ƒ ๊ณต๊ฐ„์„ ํƒ์ƒ‰ํ•˜๋Š” ์ด ์ž‘ํ’ˆ์€ ์›๋ž˜ ๊ฐ์Šจ์˜ ๋ถ€๋ชจ๊ฐ€ 80๋Œ€ ํ›„๋ฐ˜๊ณผ 90๋Œ€ ์ดˆ๋ฐ˜์— ๊ฒฝํ—˜ํ–ˆ๋˜ ๋‹ค์–‘ํ•œ ์ข…๋ฅ˜์˜ ๊ธฐ์–ต ์ƒ์‹ค, ํ™˜๊ฐ, ๊ทธ๋ฆฌ๊ณ  ๊ฟˆ๊ณผ ๊นจ์–ด์žˆ๋Š” ํ˜ผ๋ž€์— ์˜๊ฐ์„ ๋ฐ›์•˜๋‹ค. ํ”Œ๋ ˆ์ด์–ด๋Š” ๋จผ์ € ๊ธ€์“ฐ๊ธฐ์™€ ์ถค์„ ํฌํ•จํ•œ ์งง์€ ์‚ฌ๊ณ  ์‹คํ—˜์„ ํ•˜๊ณ  ๊ทธ ๊ฒฐ๊ณผ๋ฅผ ์—…๋กœ๋“œํ•œ๋‹ค. ์ด ๊ฒŒ์ž„์€ ์ถ”๊ฐ€ ์—…๋กœ๋“œ์™€ ํ”„๋กฌํ”„ํŠธ์— ๋Œ€ํ•œ ์‘๋‹ต์„ ํ†ตํ•ด ์ถ”๊ฐ€๋กœ ์ปค์Šคํ„ฐ๋งˆ์ด์ง•์ด ๊ฐ€๋Šฅํ•˜๋‹ค. ํ”Œ๋ ˆ์ด์–ด์˜ ์ƒ์ƒ๋ ฅ๊ณผ ์—…๋กœ๋“œ ํŒŒ์ผ์€ ๊ฒŒ์ž„ ์ง„ํ–‰ ์ƒํ™ฉ, ์‹œ๊ฐ์  ์„ธ๋ถ€ ์ •๋ณด ๋ฐ ์ด๋ฏธ์ง€์— ์ง์ ‘์ ์ธ ์˜ํ–ฅ์„ ๋ฏธ์นœ๋‹ค. ๊ฒŒ์ž„์€ ํ”Œ๋ ˆ์ด์–ด๊ฐ€ ๋‹ค๋ฅธ ์„ธ๊ณ„๋ฅผ ํƒ์ƒ‰ํ•˜๋ฉด์„œ ์ž๊ธฐ ๋ฐœ๊ฒฌ๊ณผ ์‚ฌ์ƒ‰์„ ํ•  ์ˆ˜ ์žˆ๋Š” ๊ณต๊ฐ„์„ ์ œ๊ณตํ•œ๋‹ค.



n collaboration with Cosine(Hani Kim, Hyungkyu Kim, Herry Kim, Taehun Lim, Yoonyoung Jang)

audio visual installation, robot, weight sensor, silicone, aluminium, velvet

The sin of Artificial Intelligence technology is the sin of humans after all. Cosine presents a confession booth where the viewer can hear the confession of text-based artificial intelligence that learned โ€œhuman errorsโ€. Through the generated confession of the artificial intelligence, we aim to objectively present the dark side of technological development and let humans reflect on ethical issues on their own.

์ธ๊ณต์ง€๋Šฅ์˜ ์ฃ„๋Š” ๊ฒฐ๊ตญ ์ธ๊ฐ„์˜ ์ฃ„๋‹ค. ์ฝ”์‚ฌ์ธ์€ ์ด๋Ÿฌํ•œ ๋Œ€์ „์ œ ํ•˜์— ์ธ๊ฐ„์˜ ์ž˜๋ชป๋“ค์„ ํ•™์Šตํ•œ ํ…์ŠคํŠธ ๊ธฐ๋ฐ˜ ์ธ๊ณต์ง€๋Šฅ์˜ ๊ณ ๋ฐฑ์„ ๋“ฃ๋Š” ๊ณ ํ•ด์„ฑ์‚ฌ ๋ถ€์Šค๋ฅผ ์„ ๋ณด์ธ๋‹ค. ์ธ๊ณต์ง€๋Šฅ์˜ ๊ณ ๋ฐฑ์„ ํ†ตํ•ด ๊ธฐ์ˆ  ๋ฐœ์ „์˜ ์–ด๋‘์šด ๋ฉด์„ ๊ฐ๊ด€์ ์œผ๋กœ ์ œ์‹œํ•˜๊ณ , ์ธ๊ฐ„ ์Šค์Šค๋กœ ์œค๋ฆฌ์  ๋ฌธ์ œ๋ฅผ ์„ฑ์ฐฐํ•˜๊ฒŒ ํ•˜๊ณ ์ž ํ•œ๋‹ค.

shown in
Machine Learning for Creativity and Design, NeuraIPS, 2021, Online, 2021. 12. 13

Play On A.I., Art Center Nabi, Seoul, 2020. 12. 17 - 2021. 1. 29


camera, monitor, slides, slide projector, plant, styrofoam

In 2019, I was able to obtain a retired surveillance monitor from California Institution of the Arts. I repurposed this object into an installation with the help of Googleโ€™s Teachable Machine. Teachable Machine is a web-based machine learning tool. I trained the model with images where my camera is pointing at in two cases, 1)with and 2)without images of human body within the frame. I then trained the model to output images of Apple emoji in each case. As a result, when there is no human, the monitor shows face without mouth emoji. When the camera detects a person, it shows โ€˜shhโ€™ emoji. The โ€˜shhโ€™ emoji represents the sadistic voyeurism embedded in surveillance technology. I installed the monitor in a theatrical setting with found objects. The photo slides that are projected onto the wall are pieces of private memory of someone I do not know that I obtained from Santa Clarita Flea.

CalArts does not have any surveillance camera at the moment.